St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1887-04-12
ROBSON AND CRANE.
A Season of Comedy Promised by
These Mirth. W king Artists.

Messrs. Robson and Crane have certainly
earned the respect and admiration of all the
love re- of legitimate humor by their effective
work in the revival of the old standard CON-
edies.
They were at one time the acknowledged
shead and 'front.' of American comedy
After triumph Of years in farcical plays and
musical burlesques they turned their atten-
ton to classical presentations. In the works
of Shakespeare they found 1.-THE Comedy Of
Errors productive field for their individ-
ual talent. and in the MERRY Wives of Wind
sor'' material was discovered to bring both
artists to the footlights in the original por-
traitures of Shakespeare's amost-forgotten
play.
Not satisfied with giving life to these much
neglected comedies, Messrs. Robson ana
Crane revived another sparkling bit of humor
from the writings of Oliver Goldsmith. They
selected his unique novel Of humor. ''She
Stops to Conquer" as basis for mirth and
merriment.
the production of these three performances
in other cities is evidence sufficient that the
Judgment of these actors has met with gen.
erous reward from a well-pleased public.
Then, if report be true, when 1.-The Merry
Wives of Windsor is introduced here for the
first time, the old glaygoer will be pleased
and edited with the polite and modified edi-
ton which these ar fists render 1t. They will
hear nothing to find fault with, for the broad
humOr of Ben de Bar, and the coarseness of
Hackett, have been carefully avoided AS
given by Robson and Crane the characters of
Sir John Falstaff and DR.. Caius are pictures
of Shakespeare, not cartoons of modern hui
NOR.
In Goldsmith's sparkling comedy, ssShe
StOopS to Conquer both comedians are
presented in admirable chances to depict
their clever style of humor. The Tony
fla
of Mr.. Crane, are characters which have
made these genial gentlemen frmer friends
with the laughter loving public.
Falstaff. is recent study of Mr.. Crane, and
as such it is marvelOusly round and ripe.
There may be few inequalities, and, now
and then, shade of self-conseioushess; but
these do not impair the general effect of the
figure and the work. and they will gradually
disappear from the surface. 1t is an easy mat
ter to get into Fast aif's clothes and supply all
the materials of ''make-up. But Falstaff
must be there, or the product is a bald buff
foon. The doublet and hose must live and
pulsate with the humors of the prodigy of
flesh. Falstaff must be as palpably in his
clothes as he is under the clothes in the buck
basket, where he is couIcal, while invisible;
and William H. Crane is Falstaf in full dress,
with his rounded proportions, massive move
ment and unctuous humor, and without
grossness or vulgarity. While he reaches all
the legitimate comic effects, he draws the
lue within the bounds of polite propriety.
His facial play Is marvel Of expressiveness,
and never descends to mere ''mugging." 1t
reveals the thought before he speaks the
lines, and proves that his Falstaff is true
artistic OBSERVATION-DISCLOSURES from wirhin-and
has not been piled on outwardly. The motive,
the meaning, the soul, shine through the COR
puleut eXaggeration, and illustrate the adage,
s,Laugh and grow fat" The actor sinks him.
self, and is completely swallowed up in the
character, and this is all that need be said
here of Cranes Falstaff. Another Falstati
has come 10 the stage-a worthy successor OF
the great ones that have been before.